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Re: FCP X destroys my audio

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Oliver Peters
Re: FCP X destroys my audio
on Feb 13, 2014 at 6:10:11 pm

[Jeremy Garchow] "While Color is supper straight forward, it has trouble with 4k sources, the LUT implementation is all or nothing (not clip based), and making changes are a real pain as keyframes are very hard to edit. The tracking is just OK, and matte creation could be better."

Agreed. The last 4K-sourced feature I graded in Color was an all-RED project. I found it earlier to "pre-grade" in RCX, then export RedLogFilm 1080p ProRes4444 files, after which I then did the final grade in Color. Worked like a champ and ten times more responsive than trying to grade native RED files in Resolve even today. I almost never use LUTs, preferring to create the curve from scratch myself. But yes, Color only uses a display LUT approach. Resolve's tracker blows every other tracker in a color correction tool away.

[Jeremy Garchow] " If you don't have a super set plan going in, or something changed midstream, Color has some rigid handcuffs without starting a whole new Grade,..."

Yes and no. On the Alexa-sourced film I referenced in the other post, my starting point was to use the Primary In as a place to neutralize the shot. Then S1 was my basic "look". S8 was for edge vignettes. This left me S2-S7 from all other adjustments, like isolations for faces and other such "power windows".

In a dialogue scene cutting back and forth between two angles, I might have PI/S1/S8 the same on all shots, but then have something on S2-S7 on only one angle. Very simple to add the secondaries to each alternating shot simply by moving through the timeline. Then go back and tweak as needed.

I find that maintaining this kind of a structure in Resolve is harder. You can really get confused with how you've set up nodes from shot to shot over the course of 1,000-2,000 shots in a typical 2 hour film.

- Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL

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